The, Menaka 's, And Alexa 's Pecha Kuchas

Various sizes of dots, eyes and self-portraits cover the white walls of the Ota Fine Arts gallery showcasing Yayoi Kusama’s solo exhibition in Singapore. On display are 33 small size painting that are created between 2011 and 2012 and executed around 2004. These paintings show a variety of mediums all produced by the 87 year old dotted Japanese artist. Renowned for using repetitive motifs of dotted organisms within her new range of work we could gain a new viewpoint of her eccentric art. Yayoi Kusama: Prints is a vibrant and breathtaking exhibition it is highly recommended for everyone, especially those who had an admiration for her works, Japanese culture, and prints. Within this small gallery space, Kusama’s legacy and passion could be seen and felt.

Japan’s literati paintings where inspired by China, which was only connected with Japan through Korea. One of the most famous painters of this style was Yosa Buson, using poetic ability with both haiku and his paintings. (Kleiner 1075) These changes soon led to the availability of cheap prints and ukiyo-e to depict the delights of the city. One of the most famous ukiyo-e printmakers was Suzuki Harunobu who influenced the development of polychrome prints. These prints were very sumptuous and colorful and called nishiki-e (“brocade pictures”). These prints were made of the best quality materials and costly pigments and were not very common in the Edo period. Harunobu’s genius in his work is well shown in the Evening Bell at the Clock (Fig. 34-1). This print was based on a Chinese series where the images depicted a certain time of day or time of year in the work. In Harunobu’s version, the subjects were beautiful young women and their activities in their daily lives. The two women in the pint are seen from a regular Japanese elevated point of view, with one drying herself and the other looking away at a clock. Private scenes like this were very common in ukiyo-e. Before Harunobu’s Evening Bell at the Clock, this theme was not a regular subject seen in ukiyo-e, but soon became a common sight. These prints used flatness and rich colors to

A very strong dynamic was the influence of Buddhism along with the ongoing and progressive refining of the philosophy behind the art known as Wabi-Sabi.  “Finding beauty in the imperfect and incomplete” is an attempt to capture this philosophy which is the silent message in much of the Japanese painting, architecture, and sculpture.  The simplistic beauty of the art together with the heart of Wabi-Sabi profoundly reflect the culture of the Japanese

This traditionally formatted book was the first set of prints to give Utamaro some noteriety. After a few similar books, Utamaro began to develop his figurative style even more. He elongated the figures in his prints and drew the heads more oveal rather than circular. It is at this time that his talent for arranging and relating figures began to take shape (Hiller 42).

While working as a designer, I developed own illustration style using pens and watercolours. Since these two materials are readily accessible and easy to learn, I believe this method would be useful and enough for the public to express their ideas and bring a sense of pride and accomplishment. Throughout my years of teaching high school students at the Smile Art Institute of South Korea, I successfully aided students in honing their artistic abilities through the use of various mediums including pastels and watercolours – students were taught to create 2D and 3D artworks with precision description. I would like to share these experiences with others, who may think art as “difficult”, or requiring “natural talent”, and become a positive influence in approaching artistic

The anecdote entices the reader and her poetic description of the way each stroke of a letter can be subtly varied and the way the letters smudge. Connects her with the reader as a person and not an endorser.

French impressionists such as Gaugin, Manet and Monet are some of the many who were overcome by this bombardment of Asian art. Morimura has introduced wit into this work by substituting rose leaves in the place of fig leaves to hide his genitals. This can be seen as a form of revenge on Manet for he was a ‘pupil’ of Japanese art. This mystery of sexual identity also leads to a sense of intertextuality that stems from Morimura’s role as an androgynous critic.

He carried a box made by Cross built for one pen, filled to the brim with a neat array of three narrow-diameter black pens, three push-top mechanical pencils (Japanese: Pentel and LOGO), a flash-drive, a flash-drive pen, mechanical-pencil lead refills, a eraser, and two colored pens. To every object inside was taped a handmade label with the letters “JLAM” clearly inscribed in black ink. Even the box itself was labeled. The

The pencil liberates my stresses and sorrows. Bare and unimpeded, my mind is able to isolate itself from anything that was happening in my life. At my art table, which is merely an escape from reality, my curiosity is able to wander. Within this room, five blank canvas's look in on me as I become a mold of my imagination. A step inside my world develops into a sea of color and exploration. The vibrancy of the walls resonates throughout. Over the years, my room has served as my oasis. It’s my escape from monotonous and mundane routines. It’s my exploration of another side of me. I observe such works of art almost as much as I create. Taking notice of my classmates’ innovations and inspired by their creativity, my paintbrush begins to alleviate stress. I strive to produce pieces others will appreciate, but often find myself to be the true admirer. My pride, in this world, is driven simply by my own curiosity to express myself. I credit this side of me as the “passion” that supplements my insane drive for success. This passion has sparked critical thinking in me as well as how I see failure. Life is a blank canvas and you can truly draw whatever you want, and if you fail, you start over and don’t make that same mistake again! Hard work takes ideas quite far, but true success is derived from ingenuity and the generation of

Clunas expands on his claim that the attributes of calligraphy are sometimes more important than the content itself. Shen Du

The art of painting dates back to pre-historic times, the finger used as a paintbrush on the canvas of cave walls. When it comes to painting, artists have many mediums to choose from: acrylics, oils, gouache, fresco, and watercolors. Watercolors is one of the toughest mediums to achieve, its transparent streaks almost impossible to cover up and its various techniques prestigous and precise, but satisfying when accomplished. The incentive a watercolor artist has to get a taste of perfecting their talents is impecable; therefore, striving for perfection can only be accomplished with the understanding of the watercolor history, the use of the tools of the trade, the practice of techniques, and observation of former artists’ approaches.

This was an influential import and made a huge impact on the Japanese community. There is a mixture of both drawn and photographed images within this chapter. Japanese artists mainly produced images that are printed or hand drawn, while western artists produced the photographed images. The chapter overall includes both a mixture of Japanese and western artists. The images within the chapter portray the viewpoint of the artist who was present at the time of the

Art had played an important role in building up civilizations from all over the world through thousands of centuries. It is and will always still the way of projecting artists’ ideas and thoughts into meaningful and tangible objects which we called “work of art”. In addition, It was the path through all these years that dug its way to reach to our current century to show us the beauty of every single era starting from the Upper Paleolithic Period of time (42,000 – 8,000 BCE) reaching to our contemporary artists of today.

Post-war Japanese society is a world where High and Low art is blurred together by otaku, such as anime, and social class. However, Takashi Murakami straddles the line. Murakami spills a mix of Nihanga and Otaku into the canvases, plastic toys, handbags, shoes, etc; endorsing his own theory/style named “Superflat”. Using strategical subject matter such as popular Japanese comic figures combined with ukiyo-e(traditional Japanese block prints), and addressing these contrasting qualities to outside cultures; Murakami intensifies what Pop Art accomplished, art versus material. On other feelings, one could argue that “Superflat” isn’t a unique, Japan-identified style, that “Superflat” is a humiliation to the Contemporary Art world because of its commercialism. Lastly, that is a continuation of the already well developed Pop Art. On the supporting side, Murakami’s “Superflat” is a high-energy, cross-culture style that serves as a new way to represent the high and low of art that is considerably unique to Japan. To support this, Murakami’s past and present artwork will have to be established chronologically to illustrate how the timeline affects his work.

In fact, Calligraphy is a charming tool for attract the spectacles for its artistic expression and a deeply satisfying personal device.